Tom Hanks' appearances come across like scene changes between unfunny sketches on 'Saturday Night Live.'

Hitchcock largely succeeds at pulling back the veil on his off-camera personality. To a larger degree, it reveals the level of influence of his devoted wife and screenwriter Alma (Helen Mirren) on both his personal life and career.

Ultimately, while the visuals — along with Majidi’s sincere intentions — keep the film afloat, it never quite finds its footing. Heartrending one minute and heavy-handed the next, “Beyond the Clouds” is in equal parts beautiful and frustrating.

Certain twists will remain unspoiled, but “Never Let Go” should resonate with both horror junkies seeking fall escapism and parents looking to see their struggles visualized.

While Kelly’s faithful dramatization doesn’t offer a lot of fresh insights, and fizzles by the end, it remains an involving snapshot of two women grappling with their private and public personas until they collide.

As a whole, I Love You, Daddy belongs to C.K.’s own peculiar aesthetic, in that it’s brilliantly calibrated to captivate viewers and make them recoil at the same time.

The actor's pathos and deadpan skills are buried in the material, which also suffers from a continuous lack of inspiration. It's high-minded entertainment with low ambition.

If there is a valuable movie to be made in the wake of America’s most recent wave of mass shootings, Beast Beast offers only tantalizing hints of what it might look like. And yet Madden’s eye is nevertheless sharp enough to draw some blood; the kids are alright, they’ve just had the bad luck of being raised in a country that can’t seem to give a shit why so many of them don’t survive to become adults.

By the time “Old” is over, the strongest feeling it leaves us with is that it just got 108 minutes shorter.

It’s easy to get caught up in the lives and loves of the Supremes, and the warm-hearted spirit of the entire endeavor is contagious. We just wish there was a bit more time to savor it all.

If Arcand’s worldview hasn’t changed, his angle continues to grow more acute. Where The Decline of the American Empire focused on social ills, and “The Barbarian Invasions” was preoccupied with ideology, The Fall of the American Empire finds the 77-year-old Canadian legend turning his attention to the greatest moral catastrophe of our time: money.

Foster's suspenseful treatment of the material is fun to watch but not the dramatic statement its blaring tone would suggest.

This sweet but vacuous exercise in suspending disbelief is an overstuffed and underwritten misfire.

Bay’s latest reeks of falsehood veiled as righteousness.

In theory, Election Year offers a form of catharsis from contemporary anxieties by turning them into entertainment. Instead, this latest entry in a ridiculous franchise has become a victim of its own sick joke.

There’s nothing scarier than things that go bump in the night, but the terror is easily dispelled once we turn on the light and see what’s really there. That’s the lesson of King’s story, but Savage’s adaptation fails to understand that there’s nothing more frightening than the unknown.

The whole Brit falls for an American trope has been done to death, and Love at First Sight doesn’t bring anything new to the genre. While Richardson turns in the best performance of the film, even that’s not enough to push Love at First Sight to higher rom-com heights.

Wendy doesn’t take the appeal of “Beasts” in a new direction, but it clarifies its strongest qualities. Zeitlin’s roving narrative techniques may have their limitations, but this spellbinding followup proves they still have juice. Everyone grows up, but the “Beasts” formula has yet to grow old.

Close to You is rife with real emotion, but the gap between vulnerability and meaning keeps everyone at arm’s length.

Hot Milk dribbles when it should feel crisper, less torpid, but that’s perhaps to match the inner decay of everyone onscreen, and the metastasis of the most interminable vacation ever known.

There’s no denying that Bill Melendez and his artists were the perfect marriage with Schulz’s delicate vision. The feature also tosses out little “they-didn’t-have-to-do-it-but-they-did-it-anyway” touches throughout.

And “Megalopolis” — in its most dazzling and audacious moment — breaks through the screen to bridge the gap between life and thought, art and reality.

In a better world, Aquaman would excel at delivering an ecological message to the masses. But all the fish in the sea can’t salvage a movie that refuses to go more than surface deep.

If you can vibe with that whiplash-inducing comedic opening — gallons of vomit mixed with some magical holiday sweetness — you just might be in the right frame of mind to receive what’s to come in this hyper-violent, occasionally funny, and often oddly charming holiday trifle.

For all the hundreds of thousands of dollars being thrown around, The Gambler is much closer to a friendly game of poker with some loquacious, quick-witted friends than a glimpse at the gambling world’s dark underbelly. Neither is it a preachy moral tale.

A downcast and thoroughly dreadful supernatural drama that somehow fails to mine even a moment of fun out of a cautionary tale premised on the idea that your smartphone might literally be a portal to hell.

For a film that explores how the way that we’re looked at can inform how we see — a film capable of knotting the beautiful and toxic aspects of that process together in a way that makes room for them both — Clementine is too prone to navel-gazing to leave a strong impression.

In its best moments, The Flash touches on something new and exciting, but too often, its the past that tugs on, keeping it from speeding ahead.